Category: 2015

Sin Yuen recent works are all about the diversity of lines expression. Starting from the trace of water dripping to the adoption of traditional Chinese line drawing…

Using lines to describe a space, by outline those elements which always being overlook in our daily life. Mapping ready-made objects in a specific space with lines, strengthen the spatial relationship between objects and the space; ensure their values of existence even after their original function being removed.

City Plants and Art Works

Most plants in city are struggling alone through cracks of cement or being placed in pot at corners of household or balcony. They observe human behavior in a static condition.

I, wandering and live among plants.

Of plants and waves

Silhouette of plants, letterforms of longitude and latitude are used to describe the space where that plant exists.

Line drawing of water in Chinese painting style is a symbol of trace, which I/people move and live within this specific space. Lines become complicated when life or mind is complicated.

I get the figure of longitude and latitude through mobile apps, we rely on mobile apps to get the GPS data to proof the existence of certain plant, how do we proof our existence, by means of what?

冼紈近期的作品都是圍繞線條發展的多樣可能性，從滴漏痕跡,到直接挪用傳統國畫中描繪水, 雲的白描線於絲絹上, 成為以圖案般重覆形式出現的手繪線條。

以線論述一個空間，重新描繪一些平日被怱略的元素。利用空間的固有特點，勾勒現成物，同時亦把生活中各種己被功能化的物件，用線條描述後; 加強其與空間相互關係之存在感，即使去功能化後亦有一定的存在價值。

城市植物 與作品

不同于郊野的植物, 成群聚落; 多是形單影隻的立在水泥汀上，或擠在小盆中被擱在居屋一角或露台。以靜態的生命形式存在于人群生活的周圍,  觀察著，默默的回應著人的行為。

我

遊走於植物之間，生活著。

植物和水紋 (生活痕跡) 之間

紀錄于植物和它經緯度數字的外型剪影, 在其外描繪上國畫白描的水紋, 好像紀錄人的活動的痕跡和思緒。水紋會因人的生活、思想而起變化，人生活愈繁忙、思想愈複雜者，水紋則越複雜、起伏越多，變化則越大，彷彿植物身承載的故事多得引起了波瀾。反之，若植物在心思、生活較平淡、簡單的人旁邊，似乎可訴說的故事沒那么多，水紋便趨向平淡。

用植物、經緯線讀數字形的剪影來論述該植物所在的空間。國畫式的水紋則象徵著我/人們在這個空間內遊走、生活的痕跡。

經緯線讀數依靠手機軟件獲得, 證明植物存在的定位靠手機軟件, 我們又如何証明自身的存在？